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By:

Shoma A. Chatterji

21 August 2024 at 10:49:40 am

The Pallbearer’s Tragedy

Three decades after its premiere, Rangakarmee’s Mayyat remains a searing theatrical indictment of caste. Rangakarmee is perhaps the only theatre group that has been producing and performing plays in Hindi in Kolkata for 50 years this year. Founded and headed by the late Usha Ganguly, it is still as active and dynamic in presenting Hindi plays mainly new and sometimes recreating for the new audience, old plays that are timeless in their content and their appeal. The amazing feature of Mayyat...

The Pallbearer’s Tragedy

Three decades after its premiere, Rangakarmee’s Mayyat remains a searing theatrical indictment of caste. Rangakarmee is perhaps the only theatre group that has been producing and performing plays in Hindi in Kolkata for 50 years this year. Founded and headed by the late Usha Ganguly, it is still as active and dynamic in presenting Hindi plays mainly new and sometimes recreating for the new audience, old plays that are timeless in their content and their appeal. The amazing feature of Mayyat is that it was first performed by Usha Ganguly and her troupe way back in 1997 and has already performed around 500 shows spanning 30 years and signifies the cross-generational reach and popularity of the play. We saw a group of absolutely new actors dedicated to Rangakarmee. Their performance defined the strict discipline, the constant workouts and rehearsals to keep mobile and flexible because the very big cast needed to be perfect in body, mind and spirit during each 45-minute performance. What does the word Maiyyat mean? It is said to have its roots in Arabic and literally, it translates as ‘dead body’ or ‘corpse.’ The play is rooted in the deep internalization among the low castes of their exploitation and torture by the Brahmins of their village. The Brahmins are proud in their gait, their body language and even in their pure form of dress with the holy thread of Brahminism proudly on display. The custom of the proud, arrogant and rude Brahmins is to choose at least one among the four untouchables to become the pall-bearer when someone of the upper-caste dies. Instead of feeling sad or insulted, the chosen untouchable feels blessed and proud for being allowed by this strange custom of becoming a fake “Brahmin” if even for one day. Lakku is one such untouchable who lives somewhere near Aurangabad and leads a miserable life of poverty with the burden of a mentally deranged, motherless son he takes care of. The pall is decorated heavily with flowers and instead of looking like a bourse, it is decorated with lots of flowers like a palanquin. Someone obviously among the Brahmins is dead and the other Brahmins draw lots to find out which untouchable will be chosen to offer his shoulder to the bourse. `When Lakku’s name comes up in the shuffling of the paper chips, he is thrilled that at least for one day, he will enjoy the ‘blessing’ of becoming a “Brahmin.” But forced to run through the village on an empty stomach and with a weak body, Lakku collapses and dies before the bourse can reach the crematorium. Now, the question is – who will carry his body and carry it to the cremation ground? The entire performance, with 23 theatre actors, originally scripted, designed and directed by Usha Ganguly, is now performed by a new young cast under the guidance, training and supervision of Amal Saha, Deepesh Rajak, and Anirudh Sarkar. It has been conceived and designed like a musical opera with every Brahmin member of the cast, including the young women, dressed traditionally in pristine white with lots of marigold garlands and a sandalwood tikka adorning their foreheads. Though there are dialogues in the performance, these are either among the leading and decisive members among the Brahmins or scoldings and threats from the Brahmins to the four members from the untouchable tribe, each one representing a different low caste. These four men, alongwith Lakku and his mentally retarded son, keep waiting eagerly in one corner of the proscenium for the results of the lots to be drawn. They hug each other for joy when their names are announced and Lakku specially is thrilled with the responsibility of being pallbearer and becoming a Brahmin for just one night. Whose corpse is being carried in the bourse is not important. What is important is who are the pall bearers? At least, the Brahmins are not. What one carries home after watching a performance-play like Mayyat is the marvellous synchronization of the entire female cast wandering right around the proscenium space singing songs in complete harmony with not a note of error and the Brahmin men discussing, arguing and quarrelling over not how the corpse will be cremated but which low-caste man will become the pallbearer for one night. The bottom-line is caste is a continuous, historical evil. But should it remain so? (The writer is a noted film scholar. Views personal.)

Unequal Law

Few legal asymmetries in India expose the uneasy bargain between secularism, vote-bank politics, and gender justice as starkly as the continuing permissibility of polygamy for Muslim men. While Hindu, Christian, Sikh and Parsi men have been bound by monogamy for decades, Sunni Muslim personal law still allows up to four wives.


For decades, India’s political class has treated Muslim polygamy as an awkward inheritance best left untouched. That uneasy settlement is now under strain following the recent landmark survey by the Bhartiya Muslim Mahila Andolan (BMMA), based on 2,508 Sunni women across seven states.


The survey has dragged the hidden costs of polygamy out of private misery and into the national ledger. Its findings are profoundly political. The BMMA documents sharp health deterioration among first wives: chronic sleep disorders, hypertension, migraines, thyroid dysfunction, menstrual problems and diabetes - all at rates significantly higher than among second wives. Mental health outcomes are grimmer still. Insomnia, anxiety, depression, helplessness and social withdrawal stalk the first wife with disturbing regularity.


Since Independence, successive governments have treated Muslim personal law as a domain too electorally sensitive to reform. The bitter memory of the Shah Bano case in 1985 when Rajiv Gandhi’s Congress-led government overturned a Supreme Court judgment granting maintenance rights to a divorced Muslim woman under pressure from conservative clerics has cast a long shadow. It taught politicians that touching Muslim personal law carried the price of organised backlash, and possibly electoral loss.


Apologists insist polygamy is rare, or that it is divinely regulated when in fact it embeds a hierarchy in law between men and women, and among women themselves. It legalises emotional, economic and sexual asymmetry under the authority of the state. It weakens women’s bargaining power inside marriage and normalises abandonment under the disguise of legality.


The Supreme Court has described polygamy as an “injurious practice” even while acknowledging its legal status under Muslim personal law. Several Muslim-majority countries - from Tunisia to Turkey - have banned it altogether. India, for all its constitutional claims, remains on the more regressive side of this divide.


Why the hesitation? The answer lies in the peculiar coalition that has guarded this privilege. Conservative religious bodies defend polygamy as theological necessity. So-called ‘secular intellectuals,’ wary of being seen as ‘majoritarian,’ treat criticism of regressive Muslim practices as cultural trespass.


This is not secularism but a clear abdication of women’s rights which these secularists and feminists claim to champion in so shrill a manner. The irony that these upholders of secularist values fail to see is that Muslim women themselves have been among the most persistent voices for change. They ask for the same marital certainty that other Indian women take for granted.


Banning polygamy may not instantaneously transform social behaviour. But it will declare, unambiguously, that the Indian state recognises only one equal partnership at a time. That is not a cultural imposition. It is the minimum architecture of modern gender justice. 


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